Deprecated: preg_replace(): The /e modifier is deprecated, use preg_replace_callback instead in /home/ifex/mtg.redkeylabs.com/Sources/Load.php(183) : runtime-created function on line 3

Deprecated: preg_replace(): The /e modifier is deprecated, use preg_replace_callback instead in /home/ifex/mtg.redkeylabs.com/Sources/Load.php(183) : runtime-created function on line 3New member introductions

AuthorTopic: New member introductions (Read 93239 times)

if you want to post pictures of your guitar, you can go to the "Instruments" subforum, and click on "NEW TOPIC". There are two ways to include images:- You can click on "Attachments and other options", and upload a picture.- Or, if you already uploaded the picture somewhere, you can copy the link, and imbed it via the [img]-tag.Please let us know if you have any questions. ;)

Your tuning sounds very interesting, I'd love to learn more about it. :)

I've been into microtonal music for a long time, too, before I caught up with the community, but not quite as long as you. Are you active on other sites related to microtonal music?

I can sympathize about the 400 cent third, though it's a very central interval in the extremely accurate ennealimmal temperament, representing 63/50 (= 7/5 * 9/10), or 44/35 (= 11/7 * 4/5) in the less accurate 11-limit extension ennealimnic. Not very consonant, but surely an interval that may occur in extended harmony.

(feel free to reply to any or none of my questions/requests/comments, I don't want to be intrusive ^^)

Greetings Gedankenwelt, I apologize for the month long delay between your post and my response. I am happy to share and do not find your inquiries intrusive in the least bit. I am just very busy. I am not active on any other microtonal site or forum. I appreciate you pointing out that the 12edo major third is nearly identical to a minor whole step(10/9) down from the lesser septimal tritone(7/5). I had never thought of it that way. I have not really explored extendeded harmonies much and my chords don't usual include intervals more complex than a harmonic minor seventh(7/4). I use the higher limit intervals primarily for melodies. The scale of 53 'commas' to the octave works great for the 5 limit, from which the vast majority of my chord tones are drawn. The intervals that are derived from 7/4 are about 5 cents sharp. My approach to guitar playing is based somewhat on the instability of the fretted note. I use finger pressure toward the bridge, just behind the fret to flatten pitches when necessary. I can only flatten a pitch so far, depending on how far up the neck I am playing. 5 cents is no problem. It is even manageable in the midst of a dominant seventh chord. The 11 limit is poorly represented by 53edo. 13 limit intervals are only a few cents off. If one 'splits the comma', giving the octave 106 intervals, the 11 limit intervals are more closely represented. My acoustic eight string accomodates the 106edo in the middle section of the neck. It is difficult to do accurate, subtle pitch bending at high velocity, but I am not much of a shredder. Practice makes it easier. The basic fret work for the 53edo guitar is to place a fret for every third comma. So the frets are about 68 cents apart, a very narrow 'half step', almost identical to 26/25, and a very close approximation of 25/24. Three frets add up to a whole tone 9/8. You could call it a 1/3 tone scale. The first octave on any string contains only a third of the 53 notes, so adjacent strings are tuned to hold the remaining two-thirds.On the electric 8 string,I added a couple of extra frets, commas 5 and 13, to the section of the fingerboard nearest the nut, where things are not to crowded.The acoustic has a very long scale length, so I included all but the first comma in the lowest wholetone of the fingerboard. Although the scale is tempered, I pretty much tune with just intervals. Here is a typical tuning, from low to high-E1/1,G6/5,A4/3,C8/5,D16/9,F32/15,G64/27,Bb128/45. This tuning works well for my musical purposes but many others are surely useful, once discovered and learned. I came up with this fret work a little over a year ago, and I have really just gotten started. I believe that fretwork/tuning has great potential, and I would love for some other folks to explore the possibilities as well. Thanks for your interest. I will attempt to post a picture in the photo area.Matt Autry

Very interesting, thanks for the detailed explanation and for the guitar pictures! :)

If you didn't explore extended harmony much yet, may I ask how you like the following two chords?

{1:1 21:16 7:4 7:3}{1:1 21:16 3:2 7:4}

I couldn't make much use of the septimal sub-fourth 21:16 until I realized that it works really well for me in chords with other 7-limit intervals. Now I don't want to miss it anymore. ^^

When I got into microtonal music, I also became interested in 5-limit just intonation and 53edo, and later realized that unfortunately, higher limit intervals aren't represented that well in 53edo.I realized that if I stack 94edo fifths instead of 53edo fifths to generate a 53-note scale, then 3:2, 5:4, 7:4, 11:8 and 13:8 are very well approximated, with 5:4 having the worst error (3.3 cents). Then, I designed a simple yet efficient fret marker layout for a fretless guitar, where all 94edo intervals are accessible; if you're interested, you can find it here.

Some other good* 13-limit edos are 46 (5.7 cents), 56 (5.8 cents), 63 (5.4 cents), 74 (4.7 cents) and 87 (3.3 cents), with the maximal error for the 13-limit harmonics in ().Especially 46 does extremly well for its size, and 87 and 94 are the first edos with a maximal error well below 5 cents.I'm wavering between fret markers based on 87 or 94 for my fretless guitar, but I'll take my time with this decision, because I'm currently happy with my 31edo guitar. :)

It´s more than a week, but nevertheless...I´m glad I´ve found this forum, because a "minority within a minority" is better than trying to find out everything on your own. My microtonal experiments on guitars are a) frettless - as a kind of wahwah-monochord for the overtones and simply as a single-note guitar for (hopefully) exact intonation, and b) refretted- a seven-tone scale of the overtones 8-14. But the search continues!

if you're interested in exact intonation on the guitar, there are two important things to consider that are unrelated to the chosen tuning or temperament. You may already know about those, but just in case:

1) Correct fret placement depends on the string properties, and when there are different strings, the only way to gain exact intonation is to use slightly different fret positions. So the ideal fret position for a major third 5/4 may vary for different strings, even though it's the same interval.You can read more about this issue here.

2) When plugging a string, the overtones are not necessarily exact integer multiples of the fundamental frequency, but may vary. This is called inharmonicity. However, this is not the case when bowing a string.

Are you, by any chance from Germany? "Musikleeranstalt" sounds like a play on the German word "Musiklehranstalt". If you are, I'd be happy if you send me a PM, because I don't know any microtonal guitarists who live near me. ;)(I didn't search much yet, though)

It's interesting that you mention this overtone scale - my current favorite scale is a scale in orwell/winston temperament that also matches 7 out of the 8 overtones from the 8-15 scale, but adds two notes. In 31edo degrees, it's 0 4 7 10 14 18 22 25 28, or 1/1 13/12 7/6 5/4 11/8 3/2 13/8 7/4 15/8 as ratios.It's not exact, but it's relatively simple with only two step sizes, and when increasing the root by a 31edo step (an orwell[9] chroma), the result is an upside-down version of this scale that relates to the undertone series in the same way as the original scale relates to the overtone series.

If there is interest in any of these topics, I'd suggest we discuss them somewhere else, though. ;)

Howdy! I'm Pete McRae. You can google my soundcloud page, or message me for specific links to my best microtonal cuts. I used to play with Kraig Grady a lot. I have a Pascal Vibes Eikosany fretted guitar that's not playable at the moment, aargh! In any case, this looks like a nice forum. Looking forward to it! ~Pete

I'm currently building 4 prototypes of what I call a Quintar. Two of them will have a xenharmonic fretboard.I would like to share some ideas (and questions!) on this great forum.@admin: for further reference you could check this thread.Thanks in advance!

Hi Hans! You have full forum permissions. I looked at your thread, very interesting project, most of my basses are tuned in fifths too. I assume you know of http://www.ekips.org/tools/guitar/fretfind2d/, that can visualise and calculate fret positions for any xen tuning, including partial frets.

Hello! I lurk and sometimes posts at xenharmonic2 on Facebook. I'm primarily BP-oriented in my own experimentation, though I think of that as a several-year phase I'm going through. I like to build instruments (flutes, guitars, whatever's easy to build) but I also like composing music on my gameboy; for the time being analog is a tool for inspiration and digital is the actual goal.